With all the notoriety and fanfare of a reboot, Shane Black’s ultra-expensive sequel The Predator (4,037 screens), which sports an $88m price tag, has opened to pole position with a projected $26m on a $6,440 screen average. To put that in perspective, Robert Rodriguez’s Predators cost $40m to produce, opened to $24.8m and finished on $52m domestically. Given how fanboy based these type of genre films are, this will fall over next weekend (it’ll shed 65-70% of its business) and have a domestic flagfall of about $55m. When you take into account that international will bring in about $90m, a total haul looks like $145m on an $88m budget for its global theatrical run.
Alongside the heinous critical reaction which sits at 34% rotten, it’d be fair to say that 20th Century Fox would be disappointed with this result. Maybe some aliens are best left alone?
The Nun (3,876 screens) absolutely collapsed in weekend 2, falling 73% from its hefty $53.8m opening weekend, for an $18.4m weekend on a modest $4,747 screen average. With $85.2m in the tank so far for this $22m production, it’s a big hit for Warner as the global tally crosses $200m this weekend. This will be the week where the film outgrosses The Conjuring 2, and Annabelle: Creation (both did $103m domestically) with the knowledge that it won’t catch the original The Conjuring‘s $137.4m finish line. Still, when you’re pumping out films in a franchise that go out and do 10x multipliers from production budgets to global grosses – you’re doing something right!
A Simple Favour (3,102 screens) opens to $16m on a modest $5,156 screen average. Ahead of some very favourable reviews, its sitting on 82% fresh, Paul Feig’s $20m comedy thriller released with a very boutique fanfare, going into a market place with heavy boysy, franchise based opposition and held up well. It’s the only strong new female skewing content in play (Crazy Rich Asians and Peppermint winding down) which bodes well not only for a sustained opening week, but long season play off as word of mouth will be strong. $75m.
White Boy Rick (2,504 screens) bombs on opening with $9.1m on a $3,634 screen average. Not a great start for the Matthew McConaughey led production which was warmly received by critics handing it a 64% fresh score. Yet, a $29m budget will bring a sting in the tail as this aims for a $27m finish line domestically for the true life tale of a drug informant.
Crazy Rich Asians (3,385 screens) sheds 34% of its business for an $8.7m weekend on a $2,570 screen average. Quietening down now, the film has consumed circa $150m in domestic box office which is a domestic 5x multiplier for the $30m production. Between this, The Meg, The Nun, and the upcoming A Star Is Born, it’s a good time to be in the Warner Bros stable. Globally, Crazy Rich Asians is knocking on the $200m door.
Peppermint (2,980 screens) falls over to the tune of 55% in weekend 2 after a modest opening weekend to post $6m on a $2,013 screen average. With $24.1m in the can so far, this will nudge $33m to finish. It’s just a week where the market place is filled with ultra-violent films, or films rooted in violence and there’s only so much box office to go round.
The Meg (2,851 screens) gobbles up $4.3m in weekend 6 on a $1,508 screen average to bring the domestic haul to $137.5m. As of this weekend, The Meg has crossed $500m globally on its $130m budget. That is just an unbelievable feat for a film like this and the big earner, of course, was China with $153m+ of that gross. It’s the highest grossing film with Jason Statham as the headline actor in history. Who would’ve thunk it?
Searching (2,009 screens) takes $3.2m in weekend 4 on a $1,593 screen average to bring the domestic haul to $19.6m. This will all but disappear form Friday and come in around the $23m mark theatrically. Though there is no official budget announced for this, it’d be in the $6m-$10m range so that would be some comfort for Sony.
Unbroken: Path to Redemption (1,620 screens), because Angelina Jolie’s Unbroken needed a sequel (?), bombs on opening with $2.4m on a $1,481 screen average. Even the trailer looks straight to public access television for this biopic that also drew the ire of critics who slammed it with 20% rotten. This goes down in the category of: Why does this thing even exist? All done for $5m.
Mission: Impossible – Fallout (1,761 screens) slips 40% from last weekend for its final hurrah in the top ten with $2.3m on a $1,306 screen average to bring the domestic haul to a rosy $216m. With $740m+ in the kitty globally for the $178m production, it’s a mammoth hit and work will have already begun on a seventh instalment.
In Cinemas Friday 21 September, 2018 – Fahrenheit 11/9, The House with a Clock in its Walls, Life Itself, Colette, Assassination Nation, The Sisters Brothers, Tea with the Dames
Figures from Deadline